Born in Tehran, Iran in 1937 and immigrating to Vancouver in 1989, Parviz Tanavoli is the pioneer of modern sculpture in Iran. His art career began in the early 1950's and spans to the present.

Crucial to
understanding Tanavoli's achievements is the realization that he has explored, analyzed and absorbed the rich visual, literary and craftsmanly traditions of Iran. It is virtually impossible to separate his work as an artist from his passionate engagement
as a researcher, teacher, collector and author. These complex relationships are perhaps most richly and most succinctly represented by the artist's life-long preoccupation with the lock. Dismantling and repairing locks was a favourite pastime from early
childhood, and that has no doubt offered important "sculptural" lessons about formal interrelationships, including those of positve and negative space.

To view the Artist Dossier on Parviz Tanavoli which is featured in the 2013
July/August issue of ART + AUCTION Magazine, Click Here.

Critically acclaimed and widely acknowledged as the “father of modern Iranian sculpture,” Tanavoli’s trajectory has spanned east and west as he has innovated ambitiously across media. Best known as a sculptor, his expansive oeuvre also includes painting, printmaking, ceramics, rugs, and jewelry. As well, he is a highly regarded collector, scholar, and poet. This exhibition shares the breadth and richness of his work from the 1960s to the present.

Based in Tehran and Vancouver, Tanavoli (b.1937) was a leading influence among a generation defined by its commitment to artistic practices that are both modern and distinctly Iranian. Over decades, he has refined a complex system of symbols and motifs into a distinctive visual lexicon, fusing Persian traditions with pop sensibility. As well, his work entwines profound sensitivity to language, formal clarity, and conceptual engagement into a forcefully original artistic practice.

Tanavoli returns again and again to the Poet, the Prophet, and the Lovers, to walls and windows, locks, and birds— figures that stand on metaphorical borders, and exist aesthetically between traditions of realism and abstraction. Among his many long-standing projects, heech—initiated in February 1965, and set to mark a fiftieth anniversary with the opening of the Davis exhibition—perhaps best exemplifies Tanavoli’s work. The artist treats the calligraphic script for “heech,” the Farsi word for “nothing” or “nothingness” to multiple expressions in three dimensions and variable materials—from delicate jewelry to polished bronze and hi-gloss fiberglass sculpture. The concept of heech, as Tanavoli explains, is abstract, philosophical, and celebratory; he says, "Heech is not nothing. It has a body, a shape, but also a meaning behind it.”

Internationally recognized as one of Iran’s foremost artists, Tanavoli’s work has been presented around the world, and has recently been featured in exhibitions at the Metropolitan Museum of Art, the British Museum, Asia Society and the Grey Art Gallery at New York University. His work is held in numerous public and private collections, including: Tate Modern and the British Museum, London; the Metropolitan Museum of Art and the Museum of Modern Art, New York; the Minneapolis Institute of Arts and the Walker Art Center, Minneapolis; Museum Moderner Kunst, Vienna; the National Museum of Scotland, Edinburgh; the Museum of Contemporary Art, Tehran; Mathaf Museum, Qatar; Royal Society of Fine Arts, Amman; and the Guggenheim Museum, Abu Dhabi.

Education

1964-79 Head of the Sculpture Department at Tehran University
1960-63 Taught sculpture at the Minneapolis College of Arts and Design
1958-59 Studied sculpture at the Accademia di Belle Arti di Brera, Milan, Italy
1956-57 Attended Accademia di Belle Arti in Carrara, Italy
1956 Graduated from Tehran School of Arts